Tell Freedom; Kunsthal KAdE, Amersfoort

Buhlebezwe Siwani

I went to Kunsthal KAdE in Amersfoort to write a review for Villa La Repubblica about the show Tell Freedom, with works by 15 or 16 (it is ambiguous) young artists from South Africa. Click here to read the review (in Dutch) and see some more pictures.

Buhlebezwe Siwani

The lighting in KAdE was horrible for taking photos, and the few pictures i tried to take of Dineo Seshee Bopape’s works are so bad that i skipped them, for which i apologise. However you can see some pictures of her work at Witte de With in Rotterdam if you click here.

Buhlebezwe Siwani

In the mean time i hope these pics will inspire you to go and see the works in real, which i’d wholeheartedly recommend.

Buhlebezwe Siwani

Take your time though, as there’s a lot to be seen.

Haroon Gunn-Salie

Haroon Gunn-Salie, Aline Xavier

Haroon Gunn-Salie, Aline Xavier

Haroon Gunn-Salie, Aline Xavier

Haroon Gunn-Salie

Neo Matloga

Neo Matloga

Neo Matloga

Neo Matloga

Kemang Wa Lehulere

Kemang Wa Lehulere

Kemang Wa Lehulere

Kemang Wa Lehulere

Bronwyn Katz

Bronwyn Katz

Bronwyn Katz

Bronwyn Katz

Bronwyn Katz

Lerato Shadi

Lerato Shadi

Lerato Shadi

Lerato Shadi

Sabelo Mlangeni

Lebohang Kganye

Buhlebezwe Siwani

Mawande Ka Zenzile

Mawande Ka Zenzile

MADEYOULOOK

Nolan Oswald Dennis

Nolan Oswald Dennis

Nolan Oswald Dennis

Nolan Oswald Dennis

Nolan Oswald Dennis

Nolan Oswald Dennis

Lebohang Kganye

Lebohang Kganye

Francois Knoetze

Francois Knoetze

Francois Knoetze

Francois Knoetze

Francois Knoetze

Ashley Walters

Ashley Walters

Kemang Wa Lehulere

Donna Kukama

Donna Kukama

Donna Kukama

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all photographs courtesy to the artists and Kunsthal KAdE, Amersfoort

Bertus Pieters

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Tirzo Martha, No Excuses!; Museum Beelden aan Zee, The Hague

Monument for Togetherness

No excuses indeed for having any later the first solo exhibition in the Netherlands of works by Curaçao artist Tirzo Martha (1965) in Museum Beelden aan Zee.

The Great Epiphany of Curaçao

The Great Epiphany of Curaçao

The Great Epiphany of Curaçao

The Great Epiphany of Curaçao

The Great Epiphany of Curaçao

Reinvention of the Afro-Era (Ananzi Colonialism)

Reinvention of the Afro-Era (Ananzi Colonialism)

Reinvention of the Afro-Era (Ananzi Colonialism)

Reinvention of the Afro-Era (Ananzi Colonialism)

Reinvention of the Afro-Era (Ananzi Colonialism)

Reinvention of the Afro-Era (Ananzi Colonialism)

Reinvention of the Afro-Era (Ananzi Colonialism)

God Is My Pilot

God Is My Pilot

Regarding the great impression his works, so generously full of details and narratives, make, you might think such a solo show is shamefully long overdue but you might also consider it to be just in time.

God Is My Pilot

God Is My Pilot

God Is My Pilot

Louis Vuitton Gang

Louis Vuitton Gang

Louis Vuitton Gang

Louis Vuitton Gang

Louis Vuitton Gang

Louis Vuitton Gang

Louis Vuitton Gang

Captain Caribbean: The Truth Will Set You Free

Captain Caribbean: The Truth Will Set You Free

Captain Caribbean: The Truth Will Set You Free

Captain Caribbean: The Truth Will Set You Free

Social and political commitment have become fashionable these days, usually to the detriment of content and expression.

Captain Caribbean: The Truth Will Set You Free

Captain Caribbean: The Truth Will Set You Free

The Banned Partnership

The Banned Partnership

The Banned Partnership

The Banned Partnership

The Banned Partnership

The Banned Partnership

The Great Caribbean Warp

The Great Caribbean Warp

The Great Caribbean Warp

The Great Caribbean Warp

The Consequence of Giving Me Carte Blanche At Plein Air

The Consequence of Giving Me Carte Blanche At Plein Air

Social and political commitment need a warm heart and an open and practical mind towards society, even in art.

The Consequence of Giving Me Carte Blanche At Plein Air

The Consequence of Giving Me Carte Blanche At Plein Air

The Consequence of Giving Me Carte Blanche At Plein Air

Ai Wei Wei, Sate Batata Hopi Sous

Ai Wei Wei, Sate Batata Hopi Sous

Ai Wei Wei, Sate Batata Hopi Sous

Ai Wei Wei, Sate Batata Hopi Sous

Ai Wei Wei, Sate Batata Hopi Sous

Ai Wei Wei, Sate Batata Hopi Sous

The Ancestral Debate

The Ancestral Debate

The Ancestral Debate

The Ancestral Debate

The Ancestral Debate

The Ancestral Debate

Martha clearly has both and he is able to combine joy and pain, sarcasm and tenderness, a feeling for both mysticism and sobriety, exuberance and balance, passion and humour in one work.

The Ancestral Debate

The Venus of Kawa Korsou

The Venus of Kawa Korsou

The Venus of Kawa Korsou

The Venus of Kawa Korsou

The Venus of Kawa Korsou

The Concept of Colonialism

The Concept of Colonialism

The Concept of Colonialism

The Concept of Colonialism

The Concept of Colonialism

The Prestige of the Ignorant

The Prestige of the Ignorant

The Prestige of the Ignorant

There is a certain order and an almost classical feeling for proportions and composition in his works that allow you to find the details and let them tell their stories.

The Prestige of the Ignorant

The Prestige of the Ignorant

The Prestige of the Ignorant

The Prestige of the Ignorant

The Prestige of the Ignorant

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

As for these details, they can be commonplace objects but also the way Martha assembles them, the way he constructs his works, the texts he uses and the way he uses them.

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

The Fall of the Afro Myth

The Fall of the Afro Myth

The Fall of the Afro Myth

The Fall of the Afro Myth

The Fall of the Afro Myth

The Fall of the Afro Myth

The Fall of the Afro Myth

Martha has also co-operated with students and people from the neighbourhood in one work called Monument of Togetherness.

The Fall of the Afro Myth

The Divine Ascent

The Divine Ascent

The Divine Ascent

The Divine Ascent

The Divine Ascent

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

It looks very open and transparent.

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Monument of Togetherness

The whole show is well composed and presented.

Monument for Togetherness

Monument of Togetherness

Monument of Togetherness

Monument of Togetherness

Monument of Togetherness

Monument of Togetherness

Monument of Togetherness

Next week is the last week of this marvellous exhibition (already one of the very best in BaZ for this year as far as i’m concerned) so hurry up to take a closer look in BaZ if you haven’t done so yet.

Monument of Togetherness

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all pictures courtesy to Tirzo Martha and Museum Beelden aan Zee, Den Haag.

Bertus Pieters

Dineo Seshee Bopape, Lerole: footnotes (The struggle of memory against forgetting), Witte de With, Rotterdam

I went to Witte de With in Rotterdam to write a review for Villa La Repubblica about Dineo Seshee Bopape’s (1981) present show. Click here to read the review on Villa La Repubblica  (in Dutch).

As i’ve written quite extensively in VLR about the exhibition i leave you here with some extra pictures i took, however, not without the warm recommendation to visit the show.

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all photographs courtesy to Dineo Seshee Bopape and Witte de With, Rotterdam.

 

Bertus Pieters

Jeroen Blok, It’s no use going back to tomorrow; Twelve twelve gallery, The Hague

Artists deal with reality and they add to it.

They have to, in spite of what some people may think.

Reality is the artist’s bread and butter and Jeroen Blok (1976), who is presently showing his work in Twelve twelve gallery, seems to acknowledge that.

He approaches it with techniques as different as painting, photography and collage.

He uses more layers in his works, either to add to reality or to peel it.

In some of his works you may think of surrealism.

But then, isn’t surrealism an extra reality that is both additive and reflective?

Whatever, i think Jeroen Blok’s work is both.

[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all photographs courtesy to Jeroen Blok and Twelve twelve gallery, Den Haag.

Bertus Pieters

Simon Schrikker, Dark mountains – Seeing things; Livingstone gallery, The Hague

Painter Simon Schrikker (1973) shows new works in his present exhibition at Livingstone Gallery.

His dogs, once a bit scary and unpredictable, have been tamed by now and have become painterly constructions.

Octopi and sharks still haunt his paintings but he has also been concentrating on the world where these creatures come from: the sea.

Seascapes and mountains have become Schrikker’s play field to find a balance between the subject and paint itself.

You may find parts of the ocean in or around the corner,

while the idea of wild surf and rocks has even made sculpture out of paint.

Quite recent are his water colours with mountains, in which Schrikker mixes the awesome sublimity of the subject with the abstract calligraphy of his material.

In fact Schrikker is constantly trying to bend the sublime of his subjects towards the abstraction of painting.

He also does so by combining his subjects in collages and in video.

In that way Schrikker is challenging the idea of the sublime and the expression of it.

[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all photograph courtesy to Simon Schrikker and Livingstone Gallery, Den Haag.

Bertus Pierters

Jürgen Brodwolf, Malerhimmel (Painters’ Heaven); Livingstone Gallery, The Hague

Jürgen Brodwolf (1932) – immediately recognizable as an artist of his generation – is famous for his Tubenfigure (tube figures), based on squeezed out paint tubes.

In his work they have become a metaphor for the basic human figure, as part of the collective unconscious, but also becoming a metaphor for creation, its material and its inspiration.

Livingstone Gallery presently has a small exhibition of his work, which is a very interesting introduction.

[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all photographs courtesy to Jürgen Brodwolf and Livingstone Gallery, Den Haag

 

Bertus Pieters

Peter Feiler, Früchte der Dekadenz (Fruits of Decadence); Hoorn & Reniers, The Hague

Peter Feiler’s (1981) present show at Hoorn & Reniers isn’t for the faint hearted, but then life itself isn’t for the faint hearted either.

In our age of consumerism a curtain of fun and efficiency hides a world of control and power struggle, relentless, fanatic, cruel and both mediagenic and secretive.

It is a kind of merry-go-round no one of us seems to be able to quit from.

Feiler’s works may remind you of Jheronimus Bosch’s demonic paintings.

In Bosch’s works redemption seems hardly possible for humanity.

Both Bosch and Feiler show a fully corrupted society whose evil can hardly be avoided.

In Bosch’s late Gothic society all-pervasive, corrupt religious and worldly powers brought a new Renaissance world of new knowledge but also of new and more relentless ways of war and cruelty.

However Bosch always implicitly shows that there is an alternative.

In Feiler’s works that is not quite so sure.

Bosch shows you how not to behave, while Feiler just shows his visions and leaves it to you how to deal with them.

His protagonists come from the world of advertising, porn, comics, games, showbiz etc.

A world which seems to have replaced the ‘real’ world.

The title of his show implicitly asks you the question, is it pure decadence to enjoy his works and what are you really enjoying then?

[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all photographs courtesy to Peter Feiler and Hoorn & Reniers, Den Haag

 

Bertus Pieters

Turn Back Time; Galerie Maurits van de Laar, The Hague

Olphaert den Otter

Notoriously, composer Karlheinz Stockhausen said about the 9/11 Attacks: Well, what happened there is, of course (….) the biggest work of art there has ever been.

Marjolijn van der Meij

By that time – it was a few days after the traumatising acts of terror – this caused controversy.

Tobias Lengkeek

Martin Gabriel

On the other hand the English are their cruel king Henry VIII still grateful for turning their gothic abbeys into romantic ruins.

Olphaert den Otter

Marjolijn van der Meij

Destruction can be horrible and may be cruel, but undeniably it also produces visions of transformation, and that has its own aesthetics.

Tobias Lengkeek

Martin Gabriel

Works by four artists who occupy themselves in one way or another with change and the passing of time are presently on show at Maurits van de Laar Gallery.

Olphaert den Otter

Marjolijn van der Meij

Olphaert den Otter (1955) shows places of destruction in his series World Stress Paintings.

Tobias Lengkeek

Martin Gabriel

The delicateness and smallness of his tempera paintings form a stark contrast to the manmade catastrophes he actually shows.

Olphaert den Otter

Marjolijn van der Meij

Marjolijn van der Meij (1970) deforms her works by crumpling them and reworking them.

Tobias Lengkeek

Martin Gabriel

Again, the cruelty of the act becomes a base for an extremely delicate way of sculpture that catches light and dark and gives new content to what is actually shown.

Olphaert den Otter

Marjolijn van der Meij

Tobias Lengkeek (1991) is looking for the aesthetics of what you may call slow destruction, the decay you may meet with at any moment of the day in any place around you.

Tobias Lengkeek

Martin Gabriel

These moments and places and the transition they represent are the base for his very painterly paintings.

Olphaert den Otter

Marjolijn van der Meij

The slow but momentous visions of destruction inspire his aesthetics, even to the point where you can see the destruction in the paintings themselves.

Tobias Lengkeek

Martin Gabriel

Martin Gabriel (1991) is probably the least destructive in his works.

Olphaert den Otter

Marjolijn van der Meij

He combines painting, collage and the language of computer games in his works.

Tobias Lengkeek

Martin Gabriel

He digitises and de-digitises, dragging the venerable art of painting into the digital maelstrom of the contemporary and redefining real and digital time and space.

Olphaert den Otter

Marjolijn van der Meij

All four artists are trying to find a way of living with sometimes horrific, sometimes sneaking changes in our lives and to redefine aesthetics in the process.

Tobias Lengkeek

It makes for an interesting and fine show in which works by two ‘older’ artists are confronted with those of a younger generation.

Martin Gabriel

[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all pictures courtesy to the artists and Galerie Maurits van de Laar, Den Haag

 

Bertus Pieters